One of the most striking aspects of Egypt’s January 2011 uprising was the proliferation of eye-catching, politically motivated street art across Cairo and other cities. Although analysed as new phenomena of the uprising, Egypt in fact has a long history of street art and graffiti. Prior to the uprising, they were representative of an everyday politics, reflecting ‘mundane’ concerns over the cost of living, religious beliefs or romantic love. The 2011 uprisings seemed to result in a rupture in the overarching regime of power. Therefore, we see the emergence of a new form of street art, one with a far more pronounced political angle that narrated and followed the trajectories of the revolutionary moment. It was also vital to ‘capturing’ urban spaces as belonging to the revolution. Graffiti and street art have not yet been studied systematically as sites of politics; instead, they have been understood as a by-product of the uprising, as an example of a newly found freedom of expression. This paper explores the relationship between politics and popular culture through the case of graffiti and street art, highlighting how these not only reflect or represent political struggles but rather are constitutive of them. To do so requires viewing street art in a way that is attentive to art’s political potential. I draw on Jacques Rancière’s concept of ‘dissensus’, a term referring to a political and aesthetic process that creates new modes of perception and novel forms of political subjectivity. As a spatially bound practice, street art can also produce public spaces, allowing a visible ‘dissensus’ to take place. This paper therefore seeks to analyse post-January 2011 Egyptian revolutionary murals, using visual methods and art history approaches, as a spatial and aesthetic practice that contributes to political movements. Specifically, it focuses on the murals of Mohamed Mahmoud Street, by artists such as Ammar Abu Bakr and Alaa Awad.I will argue that street art engages in an interaction with audiences, altering their aesthetic experiences and enabling ways of being in public space that question and disrupt its everyday uses. In this way, it creates new perceptions of the political and the social that challenge existing relations of power.